University of California, Santa Barbara Davidson Library Department of Special Collections California Ethnic and Multicultural Archives

Total Page:16

File Type:pdf, Size:1020Kb

University of California, Santa Barbara Davidson Library Department of Special Collections California Ethnic and Multicultural Archives University of California, Santa Barbara Davidson Library Department of Special Collections California Ethnic and Multicultural Archives GUIDE TO THE RICHARD DUARDO COLLECTION OF SILK SCREEN PRINTS, 1976-1986. Collection Number: CEMA 065. Size Collection: 53 silkscreen prints. Acquisition Information: Acquired through purchase from Richard Duardo to the Colección Tloque Nahuaque, 1986. Access restrictions: Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained. Use Restriction: None. Processing Information: Collection processed by Naomi Ramierei-Hall (ca. 1990) and Michelle Wilder, June, 2004, latest revision June 2007. M:\CEMA COLLECTIONS\Duardo_Ricardo\Duardo_archives_guide.doc 2 Location: Del Norte map cabinet 3, drawers 18-20; 2 telescopic boxes on top of Del Norte map cabinets. BIOGRAPHIC SKETCH Richard Durardo grew up in the Boyle Heights section of East Los Angeles. He received his formal art education from Pasadena City College where he specialized in printmaking. In 1973 he transferred to the University of California, Los Angeles where he earned a B.A. in graphic design in 1976. Duardo spent 1977 as an apprentice to master printer Jeff Wasserman and in 1978 he founded Hecho en Aztlán, the first Chicano-owned serigraphy studio in Los Angeles. It was here that Duardo would first collaborate with other artists such as Carlos Almaraz and John Valadez to produce a series of prints. Duardo’s entrepreneurship into art is not exclusive to printmaking; he has arranged the publishing of the works of the late fashion editor Antonio López and has ventured as far as launching an independent record label and a furniture design business. After exploring other ventures such as these, Duardo branched out from his original serigraph business to create Future Perfect Publishing, a contract silkscreen pint studio. Other offshoots include Art & Commerce and Modern Multiples, Inc. Duardo’s graphic design and expert skill in printmaking is internationally recognized and he has been called the best serigraph artist in Los Angeles. In 1988 the California Arts Council named him Artist of the Year. Along with printmaking, Duardo has been commissioned for commercial art projects, including album covers for musicians such as Jackson Browne and Yanni. SCOPE NOTE This collection contains 53 silkscreen prints, including 30 prints by Richard Duardo and 23 prints by other artists such as Carlos Almaraz, Barbara Carrasco, Leo Limón, Carmen Lomas Garza and John Valadez. The catalog is arranged as follows: the prints of Richard Duardo are catalogued first, followed by those prints of other artists; “Artist Unknown” are first which are arranged alphabetically the title, followed by identified prints arranged by artist’s last name, and then alphabetically by title within the same artist’s names. There are selective numbers of progressives included and identified as these are illustrative of the individual screens used to create the composite work. 3 CATALOG OF SILK SCREENS 1. Almaraz, Carlos; Whatever Happened to The Incas?; 1985; image size: 41" x 29"; paper size: 41" x 29". Edition Number: P/P; P/P lower left in pencil on image. Signature and date lower right on image.; Twenty-eight color. Expressionistic design with two figures and two palm trees in foreground. Four dancing figures middle ground. Location Del Norte map cabinet 3 2. Almaraz, Carlos, Una Historia De Amor Y Pecados; 1977; image size: 18 1/2" x 24 1/2"; paper size: 23" x 29 1/8". Edition Number: copyright Almaraz, 1977 in brown located at the lower right corner of the image.; Ninety-seven images. Two colors: brown and beige.`Una Historia de Amor y Pecados' in brown. Novello format. Location Del Norte map cabinet 3 3. Alvarez, Ramon, Día de Los Muertos; 1980; image size: 23" x 15"; paper size: 30" x 22". Edition Number: 23/23; Ramon Alvaraz lower right in pencil. Alvarez California insignia lower left. 23/23 lower left in pencil.; Thirty-five small grey skulls with WWI aviation hat and sunglasses. 1 large shull image in center of poster. Light blue and yellow dot to square patterned field. Location Del Norte map cabinet 3 4. Bojorquez, Charles Chaz, El Ese; 26" x 40"; paper size: 26" x 40". Edition Number: none; One large red calligraphic symbol center. Grey calligraphic symbols as background on a black field. Full bleed. Lavender type:`Most loco Say Bost, Future Perfect, Nov 3-Dec 7 - 1981. (A group installation), Charles Bojorquez (Chaz) K.K. Johnny Rifa, Bob Hope Zoell, Gary Panther'. Location Del Norte map cabinet 3 5. Carrasco, Barbara, Zoot Suit Night; 15" x 34"; paper size: 16" x 35". Edition Number: copyright Barbara Carrasco is written in white in the right corner.; Green, white & red background. One male, one female bust image. Black type reads:`Mexican Dance Theatre Presents, "Zoot Suit Night" at the Pasta House with Teatro Mexicano De Danza...cast members of the hit play. "Zoot Suit" by Luis Valdez...Free Buffet Dinner & Las Vegas Drawing.'. Location Del Norte map cabinet 3 6. Carrasco, Barbara, Zoot Suit Night; 15" x 34"; paper size: 16" x 35". Edition Number: copyright Barbara Carrasco in the right corner.; Green, white and red background. One female and one male bust. No type. Location Del Norte map cabinet 3 7. Carrasco, Barbara, Zoot Suit Night Mono; 15" x 34"; paper size: 16" x 35". Edition Number: Copyright Barbara Carrasco in the right corner.; Black outline of female and male bust image. Part of Zoot Suit series. No background color. Location Del Norte map cabinet 3 8. Duardo, Richard, Aztec Bird; 17" x 18"; paper size: 23" x 24". Edition Number: none; Five color production. Brown Aztec bird with blue, green, orange and red markings. Location Del Norte map cabinet 3 4 9. Duardo, Richard, Aztlan Multiples at S.P.A.R.C.; 23" x 23"; paper size: 23" x 23". Edition Number: R.S.D. 1980 copyright on bottom.; Five color.`SPARC' purple.`Hecho en Aztlan Multiples' in grey and black. Male image on white field, blue grid background. Yellow dot pattern and astrobrite melon. Location Del Norte map cabinet 3 10. Duardo, Richard, Aztlan Multiples at Studio 24; 1980; image size: 12" x 20"; paper size: 14 1/2" x 23". Edition Number: Broadside Advertisement for "Hecho en Aztlan Multiples" at Gallery de la Raza/Studio 24. Location Del Norte map cabinet 3 11. Duardo, Richard, Bob Marley Portrait; 1985; image size: 25" x 38"; paper size: 25" x 38". Edition Number: Signature in pencil on image, lower right corner.; Seven color portrait of Bob Marley. Black, grey, beige, white, red, yellow and green. Location Del Norte map cabinet 3 12. Duardo, Richard, Bob Marley Portrait; 1985; image size: 25" x 38"; paper size: 25" x 38". Edition Number: Seven colors. Black and white Bob Marley portrait on a yellow, red and green background. Black type:`Poor Peoples Dub, Martin was a Dreadlock - Soon Come Forward.' Seems to be an extra print. Not accounted for on paperwork from Duardo. Location Del Norte map cabinet 3 13. Duardo, Richard, Brittny on the Beach; 37" x 50"; paper size: 37" x 50". Edition Number: 49/90; Richard Duardo 86 lower left, below image in pencil. 49/90 lower right on image in pencil. Embossed Aztlan insignia lower right.; Monochromatic female with maroon and yellow bathing suit, white hat, on a twelve colored/multi-textured field. Location Del Norte map cabinet 3 14. Duardo, Richard, California Da Da; 23" x 45"; paper size: 23" x 45". Edition Number: Hecho en Aztlan multiples; `California 198T' in orange band.`DADA' on black and white newsprint image, over yellow and black grid field. Four hand images on lavender area center field. White circle with black splatters in lower left. Lower right has a lavender rectangle with black type:`California Da Da 1980 - Social and Public Art Resource Center, May - 9 - June 13. Opening May 9, 7-10 p.m etc. Curators: Patty Sue Jones, Michael Mallett - Sponsored by SPARC and the City of LA, CETA Title VI. Ron Baldwin, Anna Banana, Frank Brown, Jerry Freva, John Fox, George Herms, Kin Jones, Karen lazar, Leclair, Gary Martin, Michael Mollett, Polyester Nations, Paul Mewman, Neal Taylor, Jeffrey Vallance, David Weiss, Madame X'. Location Del Norte map cabinet 3 15. Duardo, Richard, Conjunto; 1977; image size: Signature in pencil below image. Proof lower left in pencil.; Red arrow with "merge" symbol on yellow sign. Below sign on a green field reads:`Conjunto - A group show - July 1 - August 15, 1977. Galleria Otra Vez, 211 E. Brooklyn Ave. Mon - Fri - 10-4. Self Help Graphics & Art Inc.'. Location Del Norte map cabinet 3 16. Duardo Richard, Día de Los Muertos; 21" x 33"; paper size: 23" x 35". Edition Number: 28/50; Signature in pencil lower right. 28/50 in pencil center. Nov. 4, 1978 lower left in pencil below the type.; Blue/grey skull with beige mask. Two red tears. White teeth clenching two red and grey roses on a lavender rectangular field. Brown type at the bottom reads: `Día de Los Muertos, Day of the Dead - An Art Show - with Music and food - come celebrate with us !! - Sat Nov. 4, 1978. Public Art Center (CAP) 5605 1/2 N. Figueroa St., Los Angeles - Info: 256-6201 - Bring a candle.'. 5 Location Del Norte map cabinet 3 17. Duardo, Richard, Día de Los Muertos; 1978; image size: 20 1/2" x 32"; paper size: 22 1/2" x 35 1/2".
Recommended publications
  • Justice and Injustice in Three Mexican-American Playwrights
    MAN'S INHUMANITY TO MAN: JUSTICE AND INJUSTICE IN THREE MEXICAN-AMERICAN PLAYWRIGHTS by JOSHUA AL MORA, B.A., M.A. A DISSERTATION IN • SPANISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted Dean of the Graduate School December, 1994 ACKNOWLEDGEMENTS I would like to take this time to thank the members of my dissertation committee: Dr. Janet Perez, Dr. Harley Oberhelman, Dr. Wendell Aycock and Dr. Roberto Bravo. A special thanks goes out to Dr. P6rez who worked very closely with me and spent many hours reading and editing my dissertation. A special note of thanks goes out to all of my committee members for their belief in me and their inspiration during what have been the most difficult times of my life. Thank you for offering your help and for all you did. A special thank you also to the Department of Classical and Modern Languages at Texas Tech University and the faculty and staff for all of your support and encouragement. Esta obra va dedicada a mi padre, que en paz descanse, y a mi madre quienes con mucha paciencia esperaron que yo terminara. Gracias a su fe y sus oraciones se cumplib esta obra. 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv I. INTRODUCTION 1 II. THE ROOTS OF CHICANO AND OTHER TERMS 40 III. THE WAR IN THE FIELDS 72 IV. THE STRUGGLE TO ENTER THE UNITED STATES 113 V. IN SEARCH OF RESPECT IN THE SCHOOLS 148 VI.
    [Show full text]
  • Carmen Lomas Garza: Chicana Author and Illustrator
    Carmen Lomas Garza: Chicana Author and Illustrator THE ALMA PROJECT A Cultural Curriculum Infusion Model Denver Public Schools In partnership with Metropolitan State College of Denver THE ALMA PROJECT A Cultural Curriculum Infusion Model Carmen Lomas Garza: Chicana Author and Illustrator By Deborah J. Francis Grades: ECE - 2nd Implementation Time: 2-3 weeks Published 2002 Denver Public Schools, Denver, Colorado The Alma Curriculum and Teacher Training Project Loyola A. Martinez, Project Director Denver Public Schools, Denver, Colorado ABOUT THE ALMA PROJECT The Alma Curriculum and Teacher Training Project The Alma Curriculum and Teacher Training Project was made possible with funding from a Goals 2000 Partnerships for Educating Colorado Students grant awarded to the Denver Public Schools in July 1996. The Project is currently being funded by the Denver Public Schools. The intent of the Project is to have teachers in the Denver Public Schools develop instructional units on the history, contributions, and issues pertinent to Latinos and Hispanics in the southwest United States. Other experts, volunteers, and community organizations have also been directly involved in the development of content in history, literature, science, art, and music, as well as in teacher training. The instructional units have been developed for Early Childhood Education (ECE) through Grade 12. As instructional units are developed and field-tested, feedback from teachers is extremely valuable for making any necessary modifications in the topic development of future units of study. Feedback obtained in the spring of 1999, from 48 teachers at 14 sites, was compiled, documented and provided vital information for the field testing report presented to the Board of Education.
    [Show full text]
  • Oral History Interview with Barbara Carrasco
    Oral history interview with Barbara Carrasco The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Barbara Carrasco AAA.carras99 Collection Overview Repository: Archives of American Art Title: Oral history interview with Barbara Carrasco Identifier:
    [Show full text]
  • City of Los Angeles Mail
    October 1st, 2020 Cultural Heritage Commission 200 North Spring Street, Room 272 Los Angeles, CA 90012 Re: Support for HCM Nominations of Proposed Monument – Centro de Arte Publico, CHC-2020-5209-HCM; Honorable members of the Cultural Heritage Commission. We are writing to express our strong support for the designation of the building proposed by Highland Park Heritage Trust as a Historic Cultural Monument: the Centro de Arte Publico located at 5605-5607 North Figueroa Street; The building that housed the Centro de Arte Publico serves as an important reminder of the history of the Chicano Movement in Highland Park and the artists who contributed to it with their creativity. The Centro de Arte Publico also housed ChismeArte that featured Chicano writers and was a driving force for Chicana feminism. It is essential that this history not be erased. The stories of these artists and of their contributions must not disappear. Latinxs cultural contributions and stories must be preserved. Throughout the City of Los Angeles buildings and murals that were important to the Chicano Movement are under threat of demolition or defacement. The designation of the Centro de Arte Publico will preserve it for future generations. Many important Chicano and Chicana artists called the Centro de Arte Publico home. The Centro was founded here in Highland Park by Carlos Almaraz, Guillermo Bejarano and Richard Durado. John Valadez, Barbara Carrasco, Dolores Cruz, Judithe Hernandez, Beto De La Rocha, Carlos Almaraz, Frank Romero, Richard Durado and Guillermo Bejarano were some of the artists associated with the Centro de Arte Publico. ChismeArte became an important vehicle for Chicana feminism.
    [Show full text]
  • Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity
    Studies in 20th & 21st Century Literature Volume 32 Issue 2 Theater and Performance in Nuestra Article 12 América 6-1-2008 Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Nohemy Solózano-Thompson Whitman College Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Solózano-Thompson, Nohemy (2008) "Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity," Studies in 20th & 21st Century Literature: Vol. 32: Iss. 2, Article 12. https://doi.org/ 10.4148/2334-4415.1686 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Abstract This paper analyzes how Culture Clash problematizes Chicano masculinity through the manipulation of two iconic Chicano characters originally popularized by two films starring dwarE d James Olmos - the pachuco from Luis Valdez’s Zoot Suit (1981) and the portrayal of real-life math teacher Jaime Escalante in Stand and Deliver (1988). In “Stand and Deliver Pizza” (from A Bowl of Beings, 1992), Culture Clash tries to introduce new Chicano characters that can be read as masculine, and who at the same time, display alternative behaviors and characteristics, including homosexual desire. The three characters in “Stand and Deliver Pizza” represent stock icons of Chicano masculinity.
    [Show full text]
  • The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, by Catherine S
    BOOK REVIEWS The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, by Catherine S. Ramírez (Durham, NC: Duke University Press, 2009. 229 pp. Paper, $22.95.) Reviewed by María Angela Díaz ccording to historian Catherine S. Ramírez, women are conspicuously ab- sent from the story of the World War II era, the zoot suit, and the creation Aof Chicano cultural nationalism. In The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, Ramírez admirably sets out to correct this problem through her discussion of pachucas and their involvement in zoot-suit culture as well as the 1942 Sleepy Lagoon case and the Zoot-Suit Riots. While recent studies such as Luis Alvarez’s The Power of the Zoot: Youth Culture and Resistance During World War II address the suit’s importance to Mexican Americans and other ethnic and racial groups, Ramírez creatively links the zoot-suit culture of the 1940s with the Chicana/o artists of later de- cades to reveal how these artists redefined the pachuco and the zoot suit, mak- ing both icons of Chicano/a culture. She demonstrates that women were not simply hangers-on, but were integral to the formation of this culture, and that Chicana feminists used the memory of the pachuca in poetry and art to create their own version of Chicano/a nationalism that did not cast them as strange or beyond the scope of proper Chicano/a gender roles. The first of the book’s two sections focuses on the World War II era and American nationalism, while the second emphasizes the movement-era develop- ment of Chicano/a nationalism.
    [Show full text]
  • Excerpted from Kathy Peiss, Zoot Suit: the Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011)
    Excerpted from Kathy Peiss, Zoot Suit: The Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011). 6 For JTASZooting Around use the World only ‘‘ ome authorities feel that the only thing to do is to let the whole myste- rious business wear itself out and disappear through inner exhaus- Stion of its possibilities,’’ reported Agnes Meyer in the wake of the Los Angeles riot.1 In fact, it was much harder than those authorities thought to shrug off the zoot suit. During the war and for decades there- after, this style traveled across time and place, appealing to youths whose lives otherwise diverged. It turned up in wartime Great Britain and Aus- tralia, despite orders by their governments to conserve cloth for the du- ration. Bahamian farm hands, brought to Florida to pick crops, surprised their hosts by appearing in zoot suits. Canada had its own versions of zoot-suit unrest in the summer of 1944, and in occupied France, zazous sporting long coats and narrow trousers outraged officials. After the war, young people in other countries—from the stiliagi of the Soviet Union to the tsotsis of South Africa—picked up and adapted elements of an extreme style that had originated in American culture. The zoot suit was never a leading cultural product or intentional export of the United States in an era when the nation’s films, music, and consumer goods were reaching around the globe. Yet this seem- ingly ephemeral fashion traveled to many places during and after World War II. It is a telling example of a commodity that circulated 158 Chapter 6 without marketing campaigns and advertising but rather along ob- scure routes and through informal networks of influence—a process that has likely been more common than studies of consumer culture have recognized.
    [Show full text]
  • Art for La Causa
    Art for La Causa The civil rights era of the 1960s, in which marginalized groups demanded equal rights, dramatically altered American society. Galvanized by the times in which they lived, Latino artists became masters of socially engaged art, challenging prevailing notions of American identity and affirming the mixed indigenous, African, and European heritage of Latino communities. Many artists reinvigorated mural and graphic traditions in an effort to reach ordinary people where they lived and worked. Whether energizing genres like history painting, or creating activist posters or works that penetrated bicultural experiences, Latino artists shaped and chronicled a turning point in American history. The Latino Civil Rights movement began around the same time as the African American Civil Rights movement during the 1960s. The Latino community founds its voice in civil rights activist Cesar Chavez in their quest for equality. Chavez, inspired by Gandhi and Martin Luther King Jr., implemented peaceful protest strategies in the effort to expand civil and labor rights for Latinos. The marches, strikes, and fasts that Chavez and others employed aided in raising awareness of unfair labor practices, such as low wages and poor working conditions facing the Latino community. These issues became compelling motivation for Latino artists to use their talents to raise awareness and engage others for La Causa. Their artwork, which began as an expression of public art forms, fueled ongoing political activism and a greater sense of cultural pride. Political banners and posters carried during marches and protests were some of the first art forms of the movement. While Emanuel Martinez’s Farm Workers Altar is an excellent example of early public art of the movement, Carmen Lomas Garza’s Camas para Sueños exudes cultural pride in depicting a scene of everyday life in a Mexican American family.
    [Show full text]
  • Peter Valentin Fernandez, Editor, Con Safos Magazine, '97
    To: Ms. Denise Lugo/ Ms. Monica Torres Creason, Latino Museum , Los Angeles From: Peter Valentin Fernandez, Editor, Con Safos Magazine, '97 Date: January 2, 1997 Re: Los Four's involvement with Con Safos Magazine, 1968-1972 : A Personal Perspective Introduction " 380 Mexican American newspapers, published from 1848 to 1958, have documented Chicano life in the barrios of the United States.... This newspaper bibliography, compiled by Herminio Rios and Lupe Castillo has contributed greatly toward the eradication of the commonly disseminated but erroneous notions of the non-literate, non-literary, and non-intellectual Mexican American" (El Grito, Vol. V, No. 4, Summer, 1972, p. 38 ). I. Background: Con Safos Magazine, 1968-1972 A. Genesis 1. Dejure segregation/ "separate but equal" doctrine established by the Supreme Court Decision, Plessey vs Ferguson, 1896 Case 2. 1910 Mexican Revolution 3. Mexican Muralist Movement 4. Deportation/Repatriation of Mexican Americans, 1932, City/County of Los Angeles 5. America Tropical, mural by Siqueros, 1932, whitewashed after official unveiling, on Olvera St. 6. Mexico nationalizes its petroleum industry, 1935 7. " Aryes Report", filed by the Los Angeles County Sheriff Department, 1938 8. Executive Order 9066, Internment/Imprisonment of Japanese Americans, 1941 9. Sleepy Lagoon Case. 1941 10. Zoot Suit Riots, 1943 11. Desegregation of the Armed Forces of the United States, 1948 12. Korean War, 1951 13. "War" on "Rat Packs" of Mexican pachucos 14. Dejure segregation/" separate but equal "doctrine, ruled unconstitutional by the Supreme Court, in Brown vs Topeka Case, 1954 15 . Cuban Revolution, 1959 16. Presidential election of 1960 17. Assassination of President John F.
    [Show full text]
  • 806/317-0676 E-Mail: [email protected]
    DR. CONSTANCE CORTEZ School of Art, Texas Tech University, Lubbock, Texas 79409 (cell) 806/317-0676 e-mail: [email protected] EDUCATION: 1995 Doctor of Philosophy (Art History), University of California, Los Angeles Dissertation: "Gaspar Antonio Chi and the Xiu Family Tree" •Major: Contact Period and Colonial Art of México •Minors: Chicano/a Art, Pre-Columbian Art of México, Classical Art •Areas of Specialization: Conquest Period cultures of the Americas & colonial and postcolonial discourse 1986 Master of Arts (Art History), The University of Texas at Austin Masters Thesis: "The Principal Bird Deity in Late Preclassic & Early Classic Maya Art" •Major: Pre-Columbian Art •Minor: Latin American Studies •Area of Specialization: Classic Maya Iconography and Epigraphy 1981 Bachelor of Arts (Art History), The University of Texas at Austin TEACHING EXPERIENCE: Sept.2003- Associate Professor, Texas Tech University (Tenure/Promotion to Associate, March 6, 2009) present Graduate courses: Themes of Contemporary Art [1985-2013]; Contemporary Theory; Methodology; Memory & Art; The Body in Contemporary Art. Undergraduate courses: Themes of Contemporary Art; Contemporary Chicana/o Art; 19th-20th century Mexican Art; Colonial Art of México; Survey II [Renaissance -Impression.]; Survey III [Post Impressionism - Contemporary]. Sept.1997- Assistant Professor, Santa Clara University May 2003 Tenure-track appointment. Undergraduate: Chicana/o Art; Modern Latin American Art; Colonial Art of Mexico & Perú; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. Sept.1996- Visiting Lecturer, University of California at Santa Cruz June 1997 Nine-month appointment. Undergraduate: Chicana/o Art; Colonial Art of México; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas.
    [Show full text]
  • Hispanic Art in Texas Teacher Resource 2
    ART, IDENTITY, CULTURE TEJANO CULTURE IN EARLY TEXAS AND CONTEMPORARY ART LESSON ONE ART AND REPRESENTATION BEFORE THE LESSON It is important for students to be able to critically evaluate what they see, particularly as this relates to the representation of culture. Without a critical eye, students may accept stereotypical interpretations and not strive for accurate representations of peoples and cultures. OVERVIEW In this lesson, students identify and discuss how examples of Early Texas Art represent Tejano culture, comparing works for the ways that they construct their subjects. They will consider the social and historical conditions under which the images were made and offer plausible explanations for the paintings' meanings. Finally, they will evaluate what primary sources are necessary to investigate culture appropriately. In doing so, the students identify the tools that they will use in the remaining lessons. OBJECTIVES STUDENTS WILL: Interpret images for their meaning Compare different images for their meanings Employ terms introduced in the unit (Tejano, Anglo, culture, identity, representation, stereotype) Compose a plausible extension for each image Evaluate resources needed for more complete interpretations of the images HISTORICAL INFORMATION These three paintings represent different periods of Texas history. Theodore Gentilz's painting was created in the Republic of Texas (1836-1845). Gentilz was a Frenchman who moved to San Antonio in 1843 and painted the city's diverse cultures as he saw them. The image seen here represents a fandango dance. José Arpa made his image in 1929, just before the Dust Bowl and the Great Depression. Tejanos at this time experienced discrimination and schools were segregated.
    [Show full text]
  • Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E
    Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E. to 2017 C.E. A Guide to the Exhibition by Noel Dorsey Vernon A STUDENT EXHIBITION GUIDE FOR EDUCATIONAL USE ONLY -- 11/12/17 (NDV) Author's Note This guide supports the art exhibition “Breaching Walls (Real and Imaginary)” held at Skyline Community College in November 2017, celebrating Latino Heritage Month. Many thanks to the administration and faculty of Skyline College for hosting and supporting it. Many thanks also to Arthur Takayama, Lorenzo Hernández and Cristina Hernández for organizing this exhibition. I am indebted to all of them for agreeing that a gallery guide might be of use and permitting me to author it. Thanks also to Professor Carlos Ugalde for taking the time to author "Comments on Art by Professor Carlos Ugalde for Lorenzo Hernández " which is included in this Exhibition Guide. My own background in Mexican and Hispano-American history is far less than was necessary to take on this project, so I spent a lot of time reading, looking at art, listening and asking questions. I had studied the history of Mexico many years ago in Guanajuato, Mexico, although my greatest interest was in Mexico's Pre-Columbian urban heritage. As a professor and Associate Dean of Environmental Design (now a Professor Emerita) in the CSU system, I was able to incorporate some this information into my landscape architecture history courses. I also am aware that much that has been written in English about Mexican art history was written by non-Mexicans. This has resulted in the misunderstanding that Mexican art history has been driven almost entirely by Western European art movements, styles and artists.
    [Show full text]